Zao Wou-Ki

1920 - 2013 / Chinese

In 1953, Zao Wou-Ki was hired by Roland Petit's Ballets de Paris to design the sets and costumes for La Perle, a one-act ballet by Louise de Vilmorin. Jean Cocteau and Jean Denis-Malcles had previously collaborated with Ascher and worked extensively with Roland Petit at the Ballets des Champs-Élysées, It is most likely that Zao Wou-Ki was introduced to Zika Ascher through these mutual connections.

Zao Wou-Ki

Sans Titre I

2011120cm x 120cmSilk TwillLimited edition of 150

It is thanks to the insistence of Henri Michaux that Zao Wou-Ki began using India ink again at the beginning of the 1970s. Ink paintings from then on became an integral part of his work and he devoted himself regularly to creating them in series.

Zao Wou-Ki

Sans Titre II

201185cm x 113cmSillk TwillLimited edition of 150

During the 2000s, a reversal occurred and the watercolours on paper played a much more important role in his work. Zao Wou-Ki found more freedom in the works on paper, allowing him to shake off the rules of composition and creation.

Zao Wou-Ki

Paysage Bleu

195590cm x 90cmSilk TwillLimited edition of 175

In this work, colour begins to dominate the design and the characters. One senses the strong conflict between colour and the other elements. This work, even more balanced than the others in the Ascher Collection, clearly announces the move towards complete abstraction in the late 1950s, in which colour will become dominant.

Zao Wou-Ki

Deux Colombes

195590cm x 90cmSilk ShantungLimited edition of 300

Zao Wou-Ki had already at that time started a progressive transition towards abstraction. Thanks to the painting of Paul Klee, he understood that the theme of a work was not necessarily figurative, but that it could conjure up something else.